• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.4
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• pp.129-142
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• 2013

Fabrics created unique features through the change in various ways depending on the elements including fabric structure, threads, thickness, weaving, patterns and processing. This study examined the difference between texture and image depending on components of fabrics. In order to understand the trend of components of fabrics, the actual components of fabrics was analyzed by year, using the women's apparel trend books, Nelly Rodi Fabrics and Promostyl Fabrics. This study analyzed Spring/Summer season and Fall/Winter season from 2002 to 2012. Frequency analysis, cross-tabulation analysis, multiple response cross tabulation analysis were implemented using SPSS 18.0. The followings are the analysis results. For fabric composition, Spring/Summer season used cotton fabric the most. Cotton fabric accounted for relatively high usage in 2005, 2007 and 2008. Fall/Winter season used wool the most in 2002, 2003, 2004 and 2005. In case of fiber blend by fabric composition, cotton was blended with other fibers in Spring/Summer season except wool. The fiber blending ratio of wool was the highest in Fall/Winter season. Wool was blended in most fabrics. More than two patterns were mixed for fabric patterns. The fabric patterns were applied the most in 2012. For fabric processing, the fabrics by sensitivity-functional processing were continuously used every year and the surface finish showed relatively high usage in 2002 and 2011. In conclusion, this study will build the systematic data for 11 years including fabric trends in the past. It can improve specialization, systematization and efficiency in fabric planning.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.2
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• pp.157-169
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• 2012

The aim of this study is to serve as a stepping stone to outlook changes in men's fashion based on gender characteristics and the design proposal as a reference to shirts design for men's wear brands. This study is a theoretical work extracted from related books, dissertations, and web- resources referenced. Research method is as followed. It is based on the four main collections from S/S 2001 to S/S 2010 and selected designer brands among the most influential foreign men's fashion designer brands which have show cased their collections of 19 seasons in the last 10 years. These are what the study has found out. Firstly, the shoulder-line which used to be straight and hard in men's dress shirt has changed to comfortable curved line which falls from the shoulder to sleeve. Silhouettes were mainly shaped to an hourglass or slim silhouette representing the body curve line. Unlike how the masculine beauty was emphasized through the straight line, men's dress shirts nowadays used curved line for softness. Secondly, there were various designs with decorations added to the basic structure, making it no different from women's blouse and blurring the line between men's and women's fashion. Thirdly, colors were normally in bright ones. Tones were often in pale tone which used to be the women's color. Also choosing shades of yellow or red was a remarkable change in men's wear. Fourthly, through varying patterns and texture there were many shirts that gave clear visual effect. There were approximately equal portions of patterns with feminine image like natural patterns, abstract patterns, or small patterns and patterns with masculine image.

• Journal of the Korean Society of Costume
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• v.63 no.1
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• pp.81-96
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• 2013

We interviewed and surveyed parents of 3 to 6-year-old boys in order to determine designs for indoor apparel that appealed to toddlers. In addition, on the basis of the behavioral characteristics of such boys, improvements in the development of indoor apparels were suggested. Parents preferred indoor apparels because it could be worn as underwear when the kid is outdoors and as outerwear when indoors. These apparels were popular with toddlers. Therefore, indoor apparel that gives the impression of outerwear while performing the function of underwear was designed. Underwear fabric was used, but outerwear apparel design was partially adopted. In order to improve the activity, fabric that could be stretched in any direction was used for the sleeves and pant legs, while organic fabric with soft texture was used for the trunk part of the apparel. Dark-colored material was used for the chest and elbow parts of the clothes in order to prevent contamination in these parts. In particular, a bib was used to prevent contamination in the chest part. Given that toddlers engage in many activities, the fabric needed to be durable, so this led to thick materials being used for the knee part. As certain parents complained about the short length for tops, we increased the length of the tops by 5cm. In the survey items that investigated overall wearability, ease, and suitability for toddlers' activities, the test apparel obtained a higher score than existing apparel did. This indicates that the overall suitability of the newly designed apparel was improved.

• The Research Journal of the Costume Culture
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• v.15 no.6
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• pp.1053-1062
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• 2007

This study purposed to restructure representative traditional patterns formatively, manufacture actual cultural products with traditional dyeing technique using persimmon, and commercialize the results of the research. Traditionally in Korea, the dying of natural fiber such as cotton, flax and silk with persimmon was called Galmul dyeing, and clothes made through Galmul dyeing were called Galot. Galot was very useful because it is strong, does not pick up dirt easily, dries easily, and is cool in summer. In addition, cloth dyed with persimmon becomes stiff, so it does not need to be starched or ironed after washing. Moreover, it does not transmit heat under direct rays and is highly air-permeable, so it is cool and useful for standing the heat. In this study, we used traditional persimmon dyeing technique, printing traditional patterns fit for contemporary people's aesthetic sense not through dip-dying but through printing. When persimmon dyeing is used in expressing patterns, it produces not only visual effect but also embossing effect due to the characteristic of persimmon that makes printed patterns stiff, so we can obtain unique texture distinguished from other printing methods. We chose seven motive patterns, which were lotus pattern symbolizing eternal life, peony pattern symbolizing wealth and rank and prosperity, character Su(壽) pattern widely used as a symbol of health, bird and cloud pattern in the Goryeo Dynasty, Sahapyeoeuisohwa(四合如意小花) pattern printed on brocade in the Goryeo Dynasty, lattice pattern, cloth pattern on wall paintings from the Period of the Three Kingdoms. From each pattern chosen as a motive was extracted unit patterns and the original pattern was restored using Adobe Illustrator. Restored patterns were restructured to be applied to cultural products fit for contemporary formative sense. Fabrics used in dyeing were cotton, linen, ramie, silk, and polyester. Although the same persimmon dyeing was applied, we produced different feelings of patterns using various fabrics and in some cases gold and silver powder was added for the effect of gloss in addition to the embossing of patterns. Using printed fabrics we manufactured tea pads, place mats, cushions, wrapping cloth for gifts, wallet, lampshades.

• Journal of Fashion Business
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• v.14 no.4
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• pp.74-90
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• 2010

The history of contemporary art in the 20th century can be said the history of changes. Today the variety of objects destroy the boundaries of each genre. This study aims to understand the relationship between fashion and art that becomes closer by examining contemporary art in the Gwangju Biennale 2008 to enlarge the range of understanding of mutual communication between contemporary art and fabrics which are the object of fashion. The research method was to investigate the characteristics and expression methods of object fabrics shown in contemporary art through the review of papers published at home and abroad, related literatures, and Internet materials. Also, the meaning, technique, and methods of fabrics were analyzed from works introduced in the Gwangju Biennale 2008. In order to achieve this purpose, fabric was examined as the object of work in Gwangju Biennale 2008. As a result, it is found that fabric plays an important role in changing environment newly with more dynamic, abundant, and comfortable and softer feeling than any other artistic materials and enlarging the boundaries of artistic materials by exploring formative possibility. Furthermore, its multi-dimensional expression characteristic presents unbounded possibility. Fabric which has long formed close relationship with human life has taken its place as one genre now. It departs from the past principles of fabric handicraft and the restriction of a classical norm and becomes characteristic of very wide-ranging selection of materials and free expression. Its soft and warm texture provides emotional stability for a human. Although the peculiarity of fabric as an active concept to human environment and new materials and technique based on the aesthetic consciousness of a human rely on the high development of industry, it is significant that artists' liberation from their concept and material sense is accompanied by the expression of freedom.

• Journal of Fashion Business
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• v.5 no.4
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• pp.56-72
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• 2001

The purpose of this study is to provide a philosophical basis for a rational, meaningful and systematic development of contemporary Korean fashion and culture industry. The study will begin by comparing traditional aesthetics of Japan and Korea and their respective influences in contemporary fashion design. Japanese aesthetic consciousness can be understood in terms of decorative beauty and undecorated beauty where traditional Korean aesthetic consciousness consists of aesthetic naturalism, beauty of mysticism and beauty of humor. Japanese aesthetic consciousness is generally inclined toward article fanciness, on the other hand, Korean aesthetic consciousness is inclined toward natural beauty. Both Japan and Korea reflect their traditional aesthetic consciousness in their contemporary fashion design. In Japan's case, traditional patterns have been applied to obi(帶, おび). And aesthetic naturalism can be seen in holes, tears and patches present, as well as rough and coarse texture used, in contemporary fashion design. In case of Korea, aesthetic naturalism can be seen in elegant naturally flowing curves and use of plain colored fabric used in fashion design. Beauty of mysticism can be seen in splendid primary colors from shaman ritual costumes, and fortune-telling hexagram patterns. Beauty of humor can be seen in outrageously exaggerated and distorted fit of clothes. The above comparative analysis, with respect to their formative elements, show that both Korean and Japanese contemporary fashion trends reflect and embody their respective traditional aesthetic consciousness. Japan is creating high-grade fashion design of temporal universality and contemporary appeal. Japan has done so by studying their aesthetic tradition from the point of view of philosophy and utilizing its formative elements. Korea, however, is in the middle of transition: Korea is caught between directly grafting traditional aesthetic designs onto contemporary fashion design and integrating the two according to their common internal spirit.

• Journal of Fashion Business
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• v.4 no.4
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• pp.1-16
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• 2000

The purpose of this study is to investigate the formative beauty, changes in fashion and aesthetical sense that can be seen in the bias drapings of Madeleine Vionnet and her influences on modern fashion since she used draping as a new fashion means to represent the new feminine images which modernism of the early 20th century and social changes from the two great World War's generated, and to provide proper data to encourage designers' creativity that is wanting in the circle of Korea fashion. Bias draping led women to respect worship their body from the heart with seductive modernism enriching the material's texture to the utmost through geometrical patterns of triangle, quartered plane and quardrants and simple cylindrical cuts and with an attribute adapting itself to the wearer's body. Bias draped wear consisted of light and transparent materials and overall surface decoration revealed women's movements and sought the extension of environmental movements and demonstrated its eroticism. On the other hand, biased daywear gained anonymity through cutting true to body line and psychological protective quality as of cape, and this went well with the independent femininity accepting difference as well as pursuing revolution from the inside. The great inflation and the 2nd World War gave birth to escape from reality like surrealistic artistic tendencies and Hollywood films and increased romanticism. Bias draping once underwent unpopularity except in expensive clothes due to knit wear boom and the utilization of new elastic materials, however, it began to receive lights again from pluralization waves and retro tendencies and to be introduced in many designers' collections. A young genius of England, John Galliano improved functions of Haute Couture through creation of new styles and fantastic shows to promote profits in the fashion markets. Bias draping fitted in human body line provides us comfort and aesthetic qualities through careful choice of material and elegance by delicate cutting.

• Journal of the Korean Society of Costume
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• v.57 no.8
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• pp.75-88
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• 2007

Nowadays, geometrical form expressed on costume is recognizing as a part of modeling art, at the same time is working to develop it. Also the geometrical form is affording the coinciding lifestyle and sensitivity of customers keeping their pace. As a result, our study is researching on the geometrical form that is used in the pattern, silhouette, and detail of the costume to show the texture in sense of touch and the effect of optical illusion used in variable designs, in order to present the expansion our capability of infinite development included in the study of costume. Specially, geometrical form included in sports wear is very effective since the geometrical form includes short and simple beauty as well as practical design. Thus, this study is wishing to know if satisfying the practical and psychological urge of present human beings may be applied to the golf wear market, which is a type of sport that geometrical form is sent in the fastest way in domestic market. Also we are urged to know what type of design technique is the geometrical form nowadays used and changed to discriminate the artificial commerce and improve the identity of such unique brand. The source of this thesis is wishing to investigate the specialization and the most effective geometrical shape and preference of each type in domestic golf wear goods that applied geometrical goods in $2002{\sim}2006$ and analyze its way of expression.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.9
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• pp.1430-1440
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• 2009

This study is on the abstract expressionist techniques among the art activities variously expressed in modern fashion. Its significance lies in making fashion artistic through the combination of fashion and art in contributing to the development of creative fashion culture. In terms of method, documents are used to characterize the concept of abstract expressionism, the works of representative artists, and the panting techniques in relation to modem art based on existing literature. Fashion-related anthology, domestic, and foreign fashion magazines were used to analyze the abstract expressionism applied to modern fashion since 2000. According to the findings, the abstract expressionism applied to modern fashion showed artistic expressions with the abstract beauty by chance, using only the images or techniques similar to those in abstract expressionism. Expressionist works had abstract and dynamic images, as they were given a third dimension through the process of being worn on the human body. Second, details or decorative factors were excluded to ensure the maximum space for expression, modem images were displayed using the simple forms such as silhouettes (spacious or dense) and the beauty of harmony was shown that had beauty emphasized by the expression effects of textile design, the division of space, and the composition of colors. Third, the action painting techniques in modern fashion were used for textile designs printed on the surface of clothes, and the dynamic character of the design was shown by the duplication and juxtaposition of stains created by chance. The color field abstract techniques were shown through printing, texture, and dying, in addition the intense and pure abstract images were displayed by treating clothes like large screens.

• The Research Journal of the Costume Culture
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• v.30 no.3
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• pp.429-443
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• 2022

The purpose of this study is to verify how similar the virtual fit pants are to the actual fit of stretchable pants. Data is produced using a virtual model to apply movements. The results show that in the upright position, the similarity between the appearance of the actual fit and the virtual fit is high. Results are 4.47, 4.13 and 4.33 out of 5 on the front, side, and back, respectively. The base line of the front and back, and the amount of allowance in each part were well reproduced by the model. The texture of the virtual fit was evaluated and found to be similar to the actual fabric. In terms of shape and number of wrinkles with the virtual fit pants, large wrinkles were better expressed than fine wrinkles. After applying movements to the virtual model, the front and side results were similar to the actual fit, but the back results were different. As a result of multiple comparisons, the greatest difference in similarity by movements is found in the center front line. The similarity difference was lower on the side than on the front. The only significant difference after applying movements is in the hip circumference margin. According to movements, the similarity of virtual fit is lower on the back than on the front and side, and the back also has the largest similarity differences to the movements type.